For tonight’s matinee, we showcase three films exploiting what might be called Architectural Horror, which is a term I just made up right now and immediately decided to copyright so please don’t use it or I will have to talk to the lawyers.

If memory serves, I was about 6 or 7 when I first saw George Romero’s The Night of the Living Dead. It’s one of those film-viewing experiences that left an indelible imprint: I distinctly remember that feeling of sympathetic helplessness, the emerging sense that this was not going to end well, along with the viscera and brutality, the total bleakness of the film’s climax.

At a pivotal moment in Jordan Peele’s unbelievably assured horror debut Get Out, something snaps in one of the characters, and he delivers the title’s imperative with wide-eyed urgency to our protagonist Chris (Daniel Kaluuya). “GET. OUT.”

It’s an appropriately self-referential moment for a film that knows exactly what it is doing.

Quality horror films rarely make a huge amount at the box office, at least since the grindhouse days. Word-of-mouth only counts for so much, and many movies we now recognize as genre classics have had to wait for their cult followings.

Antonia Bird’s film Ravenous is a number of things. It’s a horror, and a comedy, and an odd collision of vampire and cannibal tropes, and a frontier narrative. It’s also a vegan, feminist, and anti-colonial attack on mythologies of masculinist virility.

Well, the 31 days of thrills, chills, spooks, and scares are now behind us, so it’s time to bid farewell to October Horror. And, presumably, move on to Naughty November, during which we compile a list of 30 sexploitation films and frantically watch them all.

At one point in the spectacularly creepy, evocatively-titled I Am The Pretty Thing That Lives Inside The House, our narrator tells us, “We make our own ghosts by looking, but pretending not to see.” It’s not exactly a skeleton key to the film’s meaning and approach, but it resonates throughout.